Art Attacks

Far from being a matter incidental to policy, the attack on art bespeaks a more generalizable array of tactics for managing populations, while the notion that art itself bears the agency to launch an offensive, references far greater political stakes than are conventionally attributed to the esthetic domain. Policy-whether it be fiscal, domestic, military or cultural, aspires to a concrete performativity. The various government positions that authorize official pronouncements desire their words to fulfill the action they seek in the world. Even where such public pronouncements in the role of policy lack the force of law, they seek compellence by their efforts to render to world just as they say so. As arts policy makes itself increasingly manifest, its greatest ambition will be to transform policy matters from an account of what is done to us, to one that traces how artists make themselves and their worlds.     

The Feminist Art of Self-Education

Abstract

Sociologist Elizabeth Long has charted the emergence of women’s reading groups in nineteenth-century America. ‘The women who founded literary clubs’, Long (2004, 337) tells us, ‘were aflame with the then revolutionary desire for education and self-development, which they called “self-culture”.’ Comparable aspirations continued to fuel a drive amongst women to organize together within reading and publishing groups, usually outside of official institutions, well into the twentieth century. This ‘revolutionary desire’ for self-education has also been evident in the UK women’s art and art history movement, although it has not been addressed in thorough detail. This article therefore seeks to situate an overlooked history of artistic reading and publishing communities in relation to an established body of theory in literary and cultural studies. These theoretical materials will illuminate the importance that reading and self-education (either in person or as part of a periodical network) had in establishing solidarity, and generating debate, within a flourishing art and art history movement. The second half of this article focuses on a specific case study. FAN: Feminist Art News (1980–1993) was an independent, grassroots publication that grew out of the Women Artists’ Newsletter in London. Temporary editorial collectives published themed issues on a quarterly basis. This article contends that it is no coincidence the subject of art education formed the focus of the periodical’s first issue, as well as a subsequent issue four years later. This indicates the significance of a reflexive auto-didacticism to second-wave feminism, as well as gesturing towards the long history of ‘education and self-improvement’ that has fuelled women’s reading and study groups since the nineteenth century.     

African American Art in a Post-Black Era

The term “post-black art” was invented in the late 1990's by Thelma Golden, curator and executive director of the Studio Museum in Harlem and Glenn Ligon, an African American artist. This paper examines the origins of the term, its definition and the extent to which the phrase challenges cultural practices that adversely impact artists of color and women. A discussion of the works of two African American artists who worked in the early part of the 20th century provides historical perspective on the origins of damaging cultural practices which prevailed for many decades. Though the civil rights movement instigated real change, the era unwittingly played a role in introducing cultural policies and practices that continued to limit the way in which the work of women and artists of color was presented and interpreted to the public. The paper concludes by observing the work of individual artists who circumvented those limiting cultural policies and practices and who in their imaginatively inventive ways of engaging the public were the precursors to the current "post-black" point of view.     

杜甫诗歌的色彩艺术

诗歌的用色是不能不讲究的。杜甫特别善于运用色彩这种绚丽的视觉语言,很注意色调的运用,他的诗本身就是五色缤纷的世界,用形象事物特有的光彩来描述人生旅途的见闻和感慨。在杜甫诗歌中,色彩又是意境创造的重要方式,也是理想人格的有效载体。杜诗色彩的运用极富特点,有着完整的、成熟的、自成体系的用色技巧。后代诗人在用色方面大多只是继承了杜甫的手法,而没有能在体系上全面超过他。这与杜甫"语不惊人死不休"的写作追求是分不开的。     

African American Art in a Post-Black Era

The term “post-black art” was invented in the late 1990's by Thelma Golden, curator and executive director of the Studio Museum in Harlem and Glenn Ligon, an African American artist. This paper examines the origins of the term, its definition and the extent to which the phrase challenges cultural practices that adversely impact artists of color and women. A discussion of the works of two African American artists who worked in the early part of the 20th century provides historical perspective on the origins of damaging cultural practices which prevailed for many decades. Though the civil rights movement instigated real change, the era unwittingly played a role in introducing cultural policies and practices that continued to limit the way in which the work of women and artists of color was presented and interpreted to the public. The paper concludes by observing the work of individual artists who circumvented those limiting cultural policies and practices and who in their imaginatively inventive ways of engaging the public were the precursors to the current "post-black" point of view.     

Pliant and Compliant: Colonial Indian Art and Postcolonial Cinema

Walter Benjamin's signature hypothesis of 'dialectics at a standstill' rehearsed in his 'Theoretics of Knowledge, Theories of Progress' permits visual images to be elasticized from a then condition in history and culture to a now site of contemporary reality in order to be critiqued in their entirety. Putting this hypothesis to the test, Rajan juxtaposes two late eighteenth-century works of art by East India Company Painters with two late twentieth-century films by Mira Nair and Deepa Mehta to trace trajectories of orientalized desire and unspeakable pleasure as relayed along a woman's body. In all four instances, the central image of woman continues to be an insistent signifier that embodies social values, cultural prejudices and artistic ideals, which, in turn, provide critical, valuable insights into constructions of gendered, aestheticized and sexualized femininity. The image of woman , thus dialectically read, reveals that it is not simply the male colonizer who is always already the oppressor, as is the common assumption, but rather that woman as an abject signifier can be merchandised even by enlightened, postcolonial women. Such a ravaged image of woman remains, therefore, a fixed trope in the hands of male and female artists, traversing coloniality and postcoloniality, and crossing over from art to cinema, with little chance of emancipation. One strategy to grant woman full agency requires the contemporary, feminist viewer to take responsibility and couple aesthetics with an ethical tenor. According to Benjamin, ethics thus defined is a matter of personalized aesthetics. This means that each one of us is entrusted with the responsibility of demanding accountability in the creation of visual culture such that images that demean femininity, disembody female subjectivity, objectify female pleasure and delegitimize desire be judged inappropriate, as incorrect or unappealing visual images and as unavailable for appropriation.     

Maria Edgeworth's Fostering Art and the Fairy Tales of Oscar Wilde

Maria Edgeworth, writer of lengthy treatises on education as well as novels often accused of an overbearing didacticism and marked by the influence of her father's rationalist, Enlightenment ideals, and Oscar Wilde, writer of urbane and sparkling society comedies as well as one scandalous, decadent novel, are rarely evoked together.